Rising paper prices are forcing publishers to change. Economist: Publishing can, then, find the paper for the things it wants to print, even in times of scarcity. The industry is currently experiencing another period of shortage, and war is once again a cause (along with the pandemic). In the past 12 months the cost of paper used by British book publishers has risen by 70%. Supplies are erratic as well as expensive: paper mills have taken to switching off on days when electricity is too pricey. The card used in hardback covers has at times been all but unobtainable. The entire trade is in trouble. Not every author is affected: a new thriller by Robert Galbraith, better known as J.K. Rowling, is a 1,024-page whopper -- and this week reached the top of the bestseller lists in Britain. But other books are having to change a bit. Pick up a new release in a bookshop and if it is from a smaller publisher (for they are more affected by price rises) you may find yourself holding a product that, as wartime books did, bears the mark of its time.

Blow on its pages and they might lift and fall differently: cheaper, lighter paper is being used in some books. Peer closely at its print and you might notice that the letters jostle more closely together: some cost-conscious publishers are starting to shrink the white space between characters. The text might run closer to the edges of pages, too: the margins of publishing are shrinking, in every sense. Changes of this sort can cause anguish to publishers. A book is not merely words on a page, says Ivan O'Brien, head of The O'Brien Press in Ireland, but should appeal "to every single sense." The pleasure of a book that feels right in the hand -- not too light or too heavy; pages creamy; fonts beetle-black -- is something that publishers strive to preserve. [...] For at the heart of the publishing industry lies an unsayable truth: most people can't write and most books are very bad. Readers who struggle with a volume often assume that the fault is theirs. Reviewers, who read many more books, know it is not.

A survey this year by Equity, the UK union for actors and other performing arts workers, found that 65 per cent of members thought AI posed a threat to employment opportunities in the sector, rising to 93 per cent of audio artists. This wasn't just an amorphous fear about the future: more than a third of members had seen job listings for work involving AI and almost a fifth had undertaken some of this work. From a report: A range of AI start-ups are developing tools for use in film and audio, from making actors look and sound younger to creating AI voices that can be used for marketing campaigns, consumer assistants or even audiobook narration. Audio is such a popular medium now that companies need lots of it, but human actors are expensive and nowhere near as flexible as an AI voice, which can be made to say anything at the push of a button. These companies typically hire actors to provide hours' worth of audio which can then be turned into a voice-for-hire.

VocaliD, for example, offers a range of voices such as "Malik" ("warm, soothing, urban") "Terri" ("educated, optimistic, sophisticated") and "AI Very British Voice" ("trustworthy, warm, calm.") Sonantic, another AI company which was just acquired by Spotify, creates voices that can laugh, shout or cry. Its voices are often used by video game companies in the production process so they can play around with different scripts. They're not as good as humans, but they don't need to be. Industry experts say no one is going to use AI to narrate the audiobook of a bestselling novel, but there is still a market to be tapped in the vast number of lower-profile books that are published or self-published every year. Audiobook.ai, for example, says it can create an audiobook in 10 minutes with 146 voices to choose from in 43 languages.

The High Court in Delhi ordered Telegram to share the personal details of copyright-infringing users with rightsholders. The messaging app refused to do so, citing privacy concerns and freedom of speech, but the court waved away these defenses, ordering the company to comply with Indian law. TorrentFreak reports: Telegram doesn't permit copyright infringement and generally takes swift action in response. This includes the removal of channels that are dedicated to piracy. For some copyright holders that's not enough, as new 'pirate' channels generally surface soon after. To effectively protect their content, rightsholders want to know who runs these channels. This allows them to take action against the actual infringers and make sure that they stop pirating. This argument is the basis of an infringement lawsuit filed in 2020.

The case in question was filed by Ms. Neetu Singh and KD Campus. The former is the author of various books, courses, and lectures, for which the latter runs coaching centers. Both rightsholders have repeatedly complained to Telegram about channels that shared pirated content. In most cases, Telegram took these down, but the service refused to identify the infringers. As such, the rightsholders asked the court to intervene. The legal battle culminated in the Delhi High Court this week via an order compelling Telegram to identify several copyright-infringing users. This includes handing over phone numbers, IP addresses, and email addresses.

The order was issued despite fierce opposition. One of Telegram's main defenses was that the user data is stored in Singapore, which prohibits the decryption of personal information under local privacy law. The Court disagrees with this argument, as the ongoing infringing activity is related to Indian works and will likely be tied to Indian users. And even if the data is stored elsewhere, it could be accessed from India. Disclosing the personal information would not be a violation of Singapore's privacy law either, the High Court adds, pointing out that there is an exception if personal details are needed for investigation or proceedings.

Telegram also brought up the Indian constitution, which protects people's privacy, as well as the right to freedom of speech and expression. However, that defense was unsuccessful too. Finally, Telegram argued that it is not required to disclose the details of its users because the service merely acts as an intermediary. Again, the Court disagrees. Simply taking infringing channels offline isn't good enough in this situation, since infringers can simply launch new ones, as if nothing had happened.

Long-time Slashdot reader Dr_Ish writes: It is not too common for the world of academic philosophy to be changed by a new discovery, or innovation. Perhaps the last time this happened in a major way can be traced back to Turing's famous (1950) "Computational Machinery and Intelligence" paper "Mind," where Turing proposed that computational systems could exhibit mind-like properties. However, it appears to be in the process of happening again.

In a series of recent papers and a book that was published last week, philosopher Prof. Paco Calvo from the University of Murcia, has made a compelling case that plants exhibit cognitive properties, such as memory, planning, intelligence and perhaps even numerical abilities... His book, Calvo, P. with Lawrence, N. "Planta Sapiens: The New Science of Plant Intelligence was published in the UK last week. It will appear in North America in March next year.
From the Guardian's review of the book: Calvo writes that intelligence is "not quite as special as we like to think". He argues that it's time to accept that other organisms, even drastically different ones, may be capable of it....

In the course of his book, Calvo describes many experiments that reveal plants' remarkable range, including the way they communicate with others nearby using "chemical talk", a language encoded in about 1,700 volatile organic compounds.... Other studies show that some plants retain a memory of where the sun will rise, in order to turn their leaves towards the first rays. They store this knowledge — an internal model of what the sun is going to do — for several days, even when kept in total darkness. The conclusion must be that they constantly collect information, processing and retaining it in order to "make predictions, learn, and even plan ahead".

Polygon reports that during a streaming event, the publisher of the Magic: the Gathering card game promised a new themed set of cards commemorating Doctor Who's 60th anniversary. But that's not their only new set: The Lord of the Rings: Tales from Middle-earth is also releasing in Q3 of 2023, but it will be a fully draftable booster set and legal in modern format of competitive play....

Individual cards portray familiar heroes and villains including Frodo, Gandalf and the Balrog. In order to capture the scale of J.R.R. Tolkien's fantasy battles, the set will also feature new borderless scene cards. Each has a piece of art that can stand alone, but 18 of them will come together to produce a particularly epic scene from the trilogy — such as the Battle of the Pelennor Fields from The Return of the King. The art from Tyler Jacobson, who's provided illustrations for more than 100 Magic cards and for Dungeons & Dragons books including The Wild Beyond the Witchlight, is full of small details including the Dark Tower Barad-dûr in the background.
The article points out that the game publisher has previously published crossover decks for The Walking Dead and Fortnite.

This story is for long-time Slashdot reader tezbobobo, who argued earlier this week that Slashdot's been remiss in its coverage of Magic: the Gathering news: For years I've seen Dungeons & Dragons, Sony Playstation and Nethack show up occassionally on the front page of Slashdot. So where are the rest of the nerd games?

Magic: the Gathering has one of the most loyal and active fanbases, and the creators have been churning out new and interesting cards for decades. Even as it tops the trading card pile, it's made inroads into the digital sphere, with online version in Arena and Magic Online. It's available on PC, Mac, Ipad.

Chinese authorities have punished 27 people over the publication of a maths textbook that went viral over its "tragically ugly" illustrations. The Guardian reports: A months-long investigation by a ministry of education working group found the books were "not beautiful," and some illustrations were "quite ugly" and did not "properly reflect the sunny image of China's children." The mathematics books were published by the People's Education Press almost 10 years ago, and were reportedly used in elementary schools across the country. But they went viral in May after a teacher published photos of the illustrations inside, including people with distorted faces and bulging pants, boys pictures grabbing girls' skirts and at least one child with an apparent leg tattoo.

Social media users were largely amused by the illustrations, but many also criticized them as bringing disrepute and "cultural annihilation" to China, speculating they were the deliberate work of western infiltrators in the education sector. Related hashtags were viewed billions of times, embarrassing the Communist party and education authorities who announced a review of all textbooks "to ensure that the textbooks adhere to the correct political direction and value orientation."

In a lengthy statement released on Monday, the education authorities said 27 individuals were found to have "neglected their duties and responsibilities" and were punished, including the president of the publishing house, who was given formal demerits, which can affect a party member's standing and future employment. The editor-in-chief and the head of the maths department editing office were also given demerits and dismissed from their roles. The statement said the illustrators and designers were "dealt with accordingly" but did not give details. They and their studios would no longer be engaged to work on textbook design or related work, it said. The highly critical statement found a litany of issues with the books, including critiquing the size, quantity and quality of illustrations, some of which had "scientific and normative problems."

An anonymous reader quotes a report from The Daily Beast: A star University of Maryland (UMD) professor built a machine-learning software "useful for surveillance" as part of a six-figure research grant from Chinese tech giant Alibaba, raising concerns that an American public university directly contributed to China's surveillance state. Alibaba provided $125,000 in funding to a research team led by Dinesh Manocha, a professor of computer science at UMD College Park, to develop an urban surveillance software that can "classify the personality of each pedestrian and identify other biometric features," according to research grant documents obtained via public records request. "These capabilities will be used to predict the behavior of each pedestrian and are useful for surveillance," the document read.

Manocha is a decorated scholar in the AI and robotics field who has earned awards and accolades from Google, IBM, and many others. His star status brings rewards: Maryland taxpayers paid $355,000 in salaries to the professor in 2021, according to government watchdog Open the Books. The U.S. military also provides lavish funding for the professor's research, signing a $68 million agreement with Manocha's lab to research military applications of AI technologies. But Maryland taxpayers and the U.S. military are not the only ones funding Manocha's research. In January 2018, the University of Maryland and Alibaba signed an 18-month research contract funding Manocha's research team. In the grant document obtained by The Daily Beast, Manocha's team pledged to "work closely with Alibaba researchers" to develop an urban surveillance software that can identify pedestrians based on their unique gait signatures. The algorithm would then use the gait signatures to classify pedestrians as "aggressive," "shy," "impulsive," and other personalities. The grant required UMD researchers to test the algorithm on videos provided by Alibaba and present their findings in person at Alibaba labs in China. The scholars also had to provide the C++ codebase for the software and the raw dataset as deliverables to Alibaba. The software's "clear implication is to proactively predict demonstrations and protests so that they might be quelled," Fedasiuk told The Daily Beast. "Given what we know now about China's architecture of repression in Xinjiang and other regions, it is clear Dr. Manocha should not have pitched this project, and administrators at UMD should not have signed off on it."

It's not just Alibaba that was interested in the professor's expertise. In January 2019 -- back when the Alibaba grant was still active -- Manocha secured a taxpayer-funded, $321,000 Defense Department grant for his research team. The two grants funded very similar research projects. The Alibaba award was titled "large-scale behavioral learning for dense crowds." Meanwhile, the DoD grant funded research into "efficient computational models for simulating large-scale heterogeneous crowds." Unsurprisingly, the research outputs produced by the two grants had significant overlap. Between 2019 and 2021, Manocha published multiple articles in the AI and machine-learning field that cited both the Alibaba and DoD grant. There is no evidence that Manocha broke the law by double-dipping from U.S. and Chinese funding sources to fund similar research projects. Nevertheless, the case still raises "serious questions about ethics in machine learning research," Fedasiuk said.

"Creators aren't getting paid," says Cory Doctorow. "That's because powerful corporations have figured out how to create chokepoints — that let them snatch up more of the value generated by creative work before it reaches creative workers."

But he's doing something about it.

Doctorow's teamed up with Melbourne-based law professor Rebecca Giblin, the director of Australia's Intellectual Property Research Institute, for a new book that first "pulls aside the veil on the tricks Big Tech and Big Content use..." But more importantly, it also presents specific ideas for "how we can recapture creative labor markets to make them fairer and more sustainable." Their announcement describes the book as "A Big Tech/Big Content disassembly manual," saying it's "built around shovel-ready ideas for shattering the chokepoints that squeeze creators and audiences — technical, commercial and legal blueprints for artists, fans, arts organizations, technologists, and governments to fundamentally restructure the broken markets for creative labor."

Or, as they explain later, "Our main focus is action." Lawrence Lessig says the authors "offer a range of powerful strategies for fighting back." Anil Dash described it as "a credible, actionable vision for a better, more collaborative future where artists get their fair due." And Douglas Rushkoff called the book "an infuriating yet inspiring call to collective action."

The book is titled "Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We'll Win Them Back." And at one point their Kickstarter page lays down a thought-provoking central question about ownership. "For 40 years, every question about creators rights had the same answer: moar copyright. How's that worked out for artists?" And then it features a quote from Wikipedia co-founder Jimmy Wales. "Copyright can't unrig a rigged market — for that you need worker power, antitrust, and solidarity."

A Kickstarter campaign to raise $10,000 has already raised $72,171 — in its first five days — from over 1,800 backers. That's partly because, underscoring one of the book's points, their Kickstarter campaign is offering "an audiobook Amazon won't sell." While Amazon will sell you a hardcover or Kindle edition of the book.... Audible has a hard and fast rule: if you're a publisher or writer who wants to sell your audiobook on Audible, you have to let it be wrapped in "Digital Rights Management," aka DRM: digital locks that permanently bind your work to the Audible platform. If a reader decides to leave Audible, DRM stops them taking the books they've already bought with them.... Every time Audible sells a book, DRM gives it a little bit more power to shake down authors and publishers. Amazon uses that stolen margin to eliminate competition and lock-in more users, ultimately giving it even more power over the people who actually make and produce books.
The announcement says their book "is about traps like the one Audible lays for writers and readers. We show how Big Tech and Big Content erect chokepoints between creators and audiences, allowing them to lock in artists and producers, eliminate competition, and extract far more than their fair share of revenues from creative labour. No way are we going to let Audible put its locks on our audiobook.

"So we're kickstarting it instead."

The announcement notes that Cory Doctorow himself has written dozens of books, "and he won't allow digital locks on any of them." And then in 2020, "Cory had an idea: what if he used Kickstarter to pre-sell his next audiobook? It was the most successful audiobook crowdfunding campaign in history."

So now Cory's working instead with independent audiobook studio Skyboat Media "to make great editions, which are sold everywhere except Audible (and Apple, which only carries Audible books): Libro.fm, Downpour, Google Play and his own storefront. Cory's first kickstarter didn't just smash all audiobook crowdfunding records — it showed publishers and other writers that there were tons of people who cared enough about writers getting paid fairly that they were willing to walk away from Amazon's golden cage. Now we want to send that message again — this time with a book that takes you behind the curtain to unveil the Machiavellian tactics Amazon and the other big tech and content powerhouses use to lock in users, creators and suppliers, eliminate competition, and extract more than their fair share....

Chokepoint Capitalism is not just a rollicking read, and a delightful listen: it also does good.

Your willingness to break out of the one-click default of buying from the Audible monopoly in support of projects like this sends a clear message to writers, publishers, and policymakers that you have had enough of the unfair treatment of creative workers, and you are demanding change.
Rewards include ebooks, audiobooks, hardcover copies, and even the donation of a copy to your local library. You can also pledge money without claiming a reward, or pledge $1 as a show of support for "a cryptographically signed email thanking you for backing the project. Think of it as a grift-free NFT."

Craig Newmark says the book documents "the extent to which competition's been lost throughout the creative industries, and how this pattern threatens every other worker. There is still time to do something about it, but the time to act is now."

Slashdot reader alaskana98 writes: You may remember it — at the end of Return of the Jedi: Special Edition, a rare glimpse of Coruscant — the seat of the galactic empire — is shown in a celebratory state as news of the empire's defeat at Endor reverberated throughout the patchwork of worlds that make up the Star Wars universe.

One might imagine that most viewers at that time might have thought — "Oh, cool, so that's what Coruscant looks like" — then went on with their lives rarely to think about that scene ever again. In a recent ScreenRant article ,they take a deeper dive into what happened on Coruscant...
Yes, it turns out that both the later movies and licensed books revealed that Darth Vader's Galactic Empire survived: [C]itizens who set off fireworks, toppled statues of the Empire, and attacked stormtroopers were met with violent retaliation from Imperial forces, resulting in numerous extrajudicial killings and executions of civilians. Coruscant continued to serve as an Imperial stronghold until its liberation by the New Republic, which happened a year later in canon and two years later in Legends.... [T]he X-Wing novels mention that the Empire brutally quelled this initial uprising, and the Star Wars: Mara Jade — By the Emperor's Hand comic series showed Stormtroopers executing civilians via firing squad. Aftermath similarly describes civilians fighting against Imperial security forces after toppling a statue of Palpatine....

Users of Google "must recalibrate their thinking on what Google is and how information is returned to them," warns an Assistant Professor at the School of Information and Library Science at UNC-Chapel Hill.

In a new book titled The Propagandists' Playbook, they're warning that simple link-filled search results have been transformed by "Google's latest desire to answer our questions for us, rather than requiring us to click on the returns." The trouble starts when Google returns inaccurate answers "that often disrupt democratic participation, confirm unsubstantiated claims, and are easily manipulatable by people looking to spread falsehoods." By adding all of these features, Google — as well as competitors such as DuckDuckGo and Bing, which also summarize content — has effectively changed the experience from an explorative search environment to a platform designed around verification, replacing a process that enables learning and investigation with one that is more like a fact-checking service.... The problem is, many rely on search engines to seek out information about more convoluted topics. And, as my research reveals, this shift can lead to incorrect returns... Worse yet, when errors like this happen, there is no mechanism whereby users who notice discrepancies can flag it for informational review....

The trouble is, many users still rely on Google to fact-check information, and doing so might strengthen their belief in false claims. This is not only because Google sometimes delivers misleading or incorrect information, but also because people I spoke with for my research believed that Google's top search returns were "more important," "more relevant," and "more accurate," and they trusted Google more than the news — they considered it to be a more objective source....

This leads to what I refer to in my book, The Propagandists' Playbook, as the "IKEA effect of misinformation." Business scholars have found that when consumers build their own merchandise, they value the product more than an already assembled item of similar quality — they feel more competent and therefore happier with their purchase. Conspiracy theorists and propagandists are drawing on the same strategy, providing a tangible, do-it-yourself quality to the information they provide. Independently conducting a search on a given topic makes audiences feel like they are engaging in an act of self-discovery when they are actually participating in a scavenger-hunt engineered by those spreading the lies....

Rather than assume that returns validate truth, we must apply the same scrutiny we've learned to have toward information on social media.
Another problem the article points out: "Googling the exact same phrase that you see on Twitter will likely return the same information you saw on Twitter.

"Just because it's from a search engine doesn't make it more reliable."

"Apple is set to expand ads to new areas of your iPhone and iPad in search of its next big revenue driver," reports Bloomberg.

The Verge writes that Apple "could eventually bring ads to more of the apps that come pre-installed on your iPhone and other Apple devices, including Maps, Books, and Podcasts." According to a report from Bloomberg's Mark Gurman, Apple has internally tested search ads in Maps, which could display recommendations when you search for restaurants, stores, or other nearby businesses. Apple already implements a similar advertising model on the App Store, as developers can pay to have their app promoted on a search page for a particular query, like "puzzle games" or "photo editor." As noted by Gurman, ads on Maps could work in the same way, with businesses paying to appear at the top of search results when users enter certain search terms.

Gurman believes that Apple could introduce ads to its native Podcasts and Books apps as well. [Gurman describes this as "likely".] This could potentially allow publishers to place ads in areas within each app, or pay to get their content placed higher in search results. Just like Maps, Podcasts and Books are currently ad-free.... Gurman mentions the potential for advertising on Apple TV Plus, too, and says the company could opt to create a lower-priced ad-supported tier, something both Netflix and Disney Plus plan on doing by the end of this year.
Bloomberg points out that Apple is already displaying ads inside its News app — where some of the money actually goes back to news publishers. ("Apple also lets publishers advertise within their stories and keep the vast majority of that money.")

And while you can disable ad personalization — which 78% of iOS users have done — Bloomberg notes that "Another ironic detail here is that the company's advertising system uses data from its other services and your Apple account to decide which ads to serve. That doesn't feel like a privacy-first policy."

Bloomberg's conclusion? "Now the only question is whether the customers of Apple — a champion of privacy and clean interfaces — are ready to live with a lot more ads."

An anonymous reader quotes a report from Ars Technica: Amazon will expand its Amazon One palm print checkout system to dozens of Whole Foods locations, marking the most significant expansion of the technology that was introduced in 2020. Amazon One allows customers to speedily check out at retail locations using only their palm prints after storing a scan of their hand via an interface at Amazon's kiosks. The palm print data is encrypted and stored on Amazon's servers. And before you worry too much about COVID-19 transmission or future pandemics, Amazon One works when you hover your palm over the scanner -- unlike some handprint tech.

Amazon initially added the technology in its Amazon Go stores and the now-shuttered Amazon Books retail locations. It then made its way to several Whole Foods locations in the Seattle area. (Amazon has owned the Whole Foods grocery chain since 2017.) Now, Amazon Go will expand to 65 Whole Foods stores across California. The rollout starts in Malibu and Santa Monica, with more locations adopting it in Los Angeles, Santa Cruz, and the Bay Area over the next few weeks. Amazon previously rolled the tech out to a few select locations in California, but never at this scale.

Crunchyroll announced that it's acquired Right Stuf, one of the world's leading online anime superstores. "Expanding Crunchyroll's eCommerce offerings, the acquisition aims to serve anime fans and collectors an even wider array of merchandise for online purchase including manga, home video, figures, games, music and everything in between," writes the company in a post. From the report: Founded in 1987, Right Stuf is a leading consumer source for anime pop culture merchandise online. By visiting its eCommerce portal, enthusiasts and collectors can find thousands of products, including Blu-rays, manga books, music, figurines, collectables, and more. Right Stuf also offers licensed anime home video products through its own label.

"For 35 years, Right Stuf's mission has been to connect anime fans with the products they love," said Shawne Kleckner, CEO of Right Stuf. "Joining forces with Crunchyroll allows us to accelerate and scale this effort more than ever before. There has never been a more exciting time to be an anime fan than today!" Kleckner and the Right Stuf team will join Crunchyroll's Emerging Businesses organization, led by Terry Li. Sony acquired Crunchyroll for $1.175 billion from AT&T, in a deal that closed in August 2021.

An anonymous reader writes: Haven't seen recommendation threads on Slashdot of late. Was curious what my fellow readers have watched and read this year that you enjoyed?

The chief executive officer of Pearson, one of the world's largest textbook publishers, said he hopes technology like non-fungible tokens and the blockchain could help the company take a cut from secondhand sales of its materials as more books go online. From a report: The print editions of Pearson's titles -- such as "Fundamentals of Nursing," which sells new for $70.88 -- can be resold several times to other students without making the London-based education group any money. As more textbooks move to digital, CEO Andy Bird wants to change that. "In the analogue world, a Pearson textbook was resold up to seven times, and we would only participate in the first sale," he told reporters following the London-based company's interim results on Monday, talking about technological opportunities for the company. "The move to digital helps diminish the secondary market, and technology like blockchain and NFTs allows us to participate in every sale of that particular item as it goes through its life," by tracking the material's unique identifier on the ledger from "owner A to owner B to owner C," said Bird, a former Disney executive.

iPhone and iPad users looking to subscribe to Netflix via the streaming platform's iOS app are being redirected to an external website which removes the need to pay the App Store tax. From a report: As 9To5Mac reports, the redirection looks to be rolling out globally and takes advantage of a new iOS API that allows apps classed as "reader apps" to sign-up new users and manage their accounts outside of the App Store.

Reader apps, as described by Apple, provide one or more digital content types -- including magazines, newspapers, books, audio, music, or video -- as its primary function. That includes popular services such as Spotify, Zinio, Amazon Kindle, and YouTube. In the case of Netflix, new customers are diverted to a separate website at the tap of a button in the app to enter personal data, choose a payment method, and select a streaming plan. This update ensures transactions are no longer Apple's responsibility and all subscription management is therefore completed by Netflix. Once signed up, the Netflix iOS app should provide full content access.

On July 7th Art News explained how 95-year-old Austrian artist Herbert W. Franke "has recently become a sensation within the art world the crypto space," describing the digital pioneer as a computer artist using algorithms and computer programs to visualize math as art. Last month, the physicist and science fiction writer was behind one of the most talked about digital artworks at a booth by the blockchain company Tezos at Art Basel. Titled MONDRIAN (1979), the work paid tribute to artist Piet Mondrian's iconic geometric visuals using a program written on one of the first home computers.

Days before this, Franke, who studied physics in Vienna following World War II and started working at Siemens in 1953, where he conducted photographic experiments after office hours, launched 100 images from his famed series "Math Art" (1980-95) as NFTs on the Quantum platform. The drop was meant to commemorate his birthday on May 14 and to raise funds for his foundation. The NFTs sold out in 30 seconds, with the likes of pioneering blockchain artist Kevin Abosch purchasing a few.
In one of his last interviews, Franke told the site that blockchain "is a totally new environment, and this technology is still in its early stages, like at the beginning of computer art. But I am convinced that it has opened a new door for digital art and introduced the next generation to this new technology." It echoed something he'd said in his first book, published in 1957, which he later quoted in the interview (a full 65 years later). "Technology is usually dismissed as an element hostile to art. I want to try to prove that it is not..."

This morning, long-time Slashdot reader Qbertino wrote: The German IT news site heise reports (article in German) that digital art pioneer, SF author ("The Mind Net") and cyberspace avantgardist Herbert W. Franke has died at age 95. His wife recounted on his Twitter account: "Herbert loved to call himself the dinosaur of computer art. I am [...] devastated to announce that our beloved dinosaur has left the earth.

"He passed away knowing there is a community of artists and art enthusiasts deeply caring about his art and legacy." Among much pioneering work he founded one of the worlds first digital art festivals "Ars Electronica" in Austria in 1979.
Franke's wife is still running the Art Meets Science web site dedicated to Franke's work. Some highlights from its biography of Franke's life: Herbert W. Franke, born in Vienna on May 14, 1927, studied physics and philosophy at the University of Vienna and received his doctorate in 1951... An Apple II was his first personal computer which he bought 1980. He developed a program as early as 1982 that used a midi interface to control moving image sequences through music....

Only in recent years has "art from the machine" begun to interest traditional museums as a branch of modern art. Franke, who from the beginning was firmly convinced of the future importance of this art movement, has also assembled a collection of computer graphics that is unique in the world, documenting 50 years of this development with works by respected international artists, supplemented by his own works....

As a physicist, Franke was predestined to bring science and technology closer to the general public in popular form due to his talent as a writer, which became apparent early on. About one-third of his nearly fifty books, as well as uncounted journal articles...

Franke's novels and stories are not about predicting future technologies, nor about forecasting our future way of life, but rather about the intellectual examination of possible models of our future and their philosophical as well as ethical interpretation. In this context, however, Franke attaches great importance to the seriousness of scientific or technological assessments of the future in the sense of a feasibility analysis. In his opinion, a serious and meaningful discussion about future developments can basically only be conducted on this basis. In this respect, Franke is not a typical representative of science fiction, but rather a visionary who, as a novelist, deals with relevant questions of social future and human destiny on a high intellectual level.

An anonymous reader quotes a report from Popular Science: Internet Archive, a non-profit digital library and a massive repository of online artifacts, has been collecting mementos of the ever-expanding World Wide Web for over two decades, allowing users to revisit sites that have since been changed or deleted. But like the web, it too has evolved since its genesis, and in the aughts, it also began to offer a selection of ebooks that any internet user can check out with the creation of a free account. That latter feature has gotten the organization in some trouble. Internet Archive was sued by a suite of four corporate publishers in 2020 over copyright controversies -- with one side saying that what Internet Archive does is preservation, and the other saying that it's piracy, since it freely distributes books as image files without compensating the author. Last week, the ongoing case entered a new chapter as the nonprofit organization filed a motion for summary judgment, asking a federal judge to put a stop to the lawsuit, arguing that their Controlled Digital Lending program "is a lawful fair use that preserves traditional library lending in the digital world" since "each book loaned via CDL has already been bought and paid for." On Friday, Creative Commons issued a statement supporting Internet Archive's motion.

In 2006, Internet Archive started a program for digitizing books both under copyright and in the public domain. It works with a range of global partners, including other libraries, to scan materials onto its site (Cornell University made a handy guide on what works fall under copyright vs. the public domain). For copyrighted books, Internet Archive owns the physical books that they created the digital copies from and limits their circulation by allowing only one person to borrow a title at a time. Book publishers, namely Hachette Book Group, HarperCollins, John Wiley Sons, and Penguin Random House, were not keen on this practice, and they have been seeking financial damages for the 127 books (PDF) shared under copyright. Vox estimated that if the publishers win, Internet Archive would have to pay $19 million, which is about "one year of operating revenue."

In the most recent filings, the publishers accused Internet Archive of amassing "a collection of more than three million unauthorized in-copyright ebooks -- including more than 33,000 of the Publishers' commercially available titles -- without obtaining licenses to do so or paying the rightsholders a cent for exploiting their works. Anybody in the world with an internet connection can instantaneously access these stolen works via IA's interrelated archive.org and openlibrary.org websites." In its defense, Internet Archive, which is being represented by the Electronic Frontier Foundation, says that "libraries have been practicing CDL in one form or another for more than a decade," and that Internet Archive lends its digitized books on an "owned-to-loaned basis, backstopped by strong technical protections to enforce lending limits."

An anonymous reader writes: Posing as a scholar, a Chinese woman spent years writing alternative accounts of medieval Russian history on Chinese Wikipedia, conjuring imaginary states, battles, and aristocrats in one of the largest hoaxes on the open-source platform. The scam was exposed last month by Chinese novelist Yifan, who was researching for a book when he came upon an article on the Kashin silver mine. Discovered by Russian peasants in 1344, the Wikipedia entry goes, the mine engaged more than 40,000 slaves and freedmen, providing a remarkable source of wealth for the Russian principality of Tver in the 14th and 15th centuries as well as subsequent regimes. The geological composition of the soil, the structure of the mine, and even the refining process were fleshed out in detail in the entry.

Yifan thought he'd found interesting material for a novel. Little did he know he'd stumbled upon an entire fictitious world constructed by a user known as Zhemao. It was one of 206 articles she has written on Chinese Wikipedia since 2019, weaving facts into fiction in an elaborate scheme that went uncaught for years and tested the limits of crowdsourced platforms' ability to verify information and fend off bad actors. "The content she wrote is of high quality and the entries were interconnected, creating a system that can exist on its own," veteran Chinese Wikipedian John Yip told VICE World News. "Zhemao single-handedly invented a new way to undermine Wikipedia."

Yifan was tipped off when he ran the silver mine story by Russian speakers and fact-checked Zhemao's references, only to find that the pages or versions of the books she cited did not exist. People he consulted also called out her lengthy entries on ancient conflicts between Slavic states, which could not be found in Russian historical records. "They were so rich in details they put English and Russian Wikipedia to shame," Yifan wrote on Zhihu, a Chinese site similar to Quora, where he shared his discovery last month and caused a stir. The scale of the scam came to light after a group of volunteer editors and other Wikipedians, such as Yip, combed through her past contributions to nearly 300 articles. "As a punishment, Zhemao and her affiliated accounts were suspended permanently," adds VICE World News. "Most of her articles were deleted based on community consensus. Some Wikipedians even wrote to experts, seeking help to separate the wheat from the chaff." A spokesperson of the Wikimedia Foundation told VICE World News in an email that volunteers are still "continuing to review additional articles that may have been affected."

The report goes on to say that Zhemao speaks neither English nor Russian and is a housewife with only a high school degree. She came clean in an apology letter issued on her Wikipedia account last month. "The hoax started with an innocuous intention," reports VICE. "Unable to comprehend scholarly articles in their original language, she pieced sentences together with a translation tool and filled in the blanks with her own imagination. [...] Before long, they had accumulated into tens of thousands of characters, which she was reluctant to delete."

"The alternative accounts were imaginary friends she 'cosplayed' as she was bored and alone, given her husband was away most of the time and she didn't have any friends. She also apologized to actual experts on Russia, whom she had attempted to cozy up to and later impersonated."

EU lawmakers gave the thumbs up on Tuesday to landmark rules to rein in tech giants such as Alphabet unit Google, Amazon, Apple, Facebook and Microsoft, but enforcement could be hampered by regulators' limited resources. From a report: In addition to the rules known as the Digital Markets Act (DMA), lawmakers also approved the Digital Services Act (DSA), which requires online platforms to do more to police the internet for illegal content. Companies face fines of up to 10% of annual global turnover for DMA violations and 6% for DSA breaches. Lawmakers and EU states had reached a political deal on both rule books earlier this year, leaving some details to be ironed out. The European Commission has set up a taskforce, with about 80 officials expected to join up, which critics say is inadequate. Last month it put out a 12 million euro ($12.3 million) tender for experts to help in investigations and compliance enforcement over a four-year period. EU industry chief Thierry Breton sought to address enforcement concerns, saying various teams would focus on different issues such as risk assessments, interoperability of messenger services and data access during implementation of the rules.